AS IF ALL WERE WELL
|livraison n# 9|
|Publisher :||Skol / rhinocéros|
|Publication editor :||Anne BERTRAND / Hervé ROELANTS / Stephen WRIGHT|
|Author(s) :||Bob le bricoleur / Anne BERTRAND / Françoise BELU / Mélanie BOUCHER / Esther BOURDAGES / Louise LACHAPELLE / Patrice LOUBIER / Devora NEUMARK, Lisa NDEJURU, Pauline NGIRUMPATSE & Susannah WESLEY / Warren NILSSON, Ed JANZEN / André-Louis PARÉ & COOKE-SASSEVILLE / Hervé ROELANTS / Bernard SCHÜTZE / Stephen WRIGHT / The YES MEN|
|Artist(s) :||Au travail – At work / Sylvie COTTON / DEJODE & LACOMBE / Jeremy DRUMMOND / Manuelle GAUTIHER / Mazen KERBAJ / Lucie LANZINI /Ken LUM / Philippe PARET / COOKE-SASSEVILLE / Hoang PHAM / Martha ROSLER / UNREGISTERED / VIA / Pierre YERRO / The YES MEN|
|English/French, 228 pages, color ill., 2008|
|ISBN (rhinocéros - Strasbourg) 978-2-913803-35-0 ISBN (Centre des arts actuels Skol - Montréal) 978-2-922009-14-9|
Even the most cursory inspection of our contemporary artworlds provides unassailable evidence: art, and what is somewhat disingenuously referred to as art-“critical” discourse, are in the throes of an epistemological, axiological and ultimately ontological crisis the likes of which they have not undergone since the Renaissance. Whether one cares to dismiss it as ephemeral or to suffer it as disorienting, there is no getting around the depth and breadth of the crisis which current critical theory finds itself particularly ill-equipped to analyse or even acknowledge. So what does it do? It continues on as if all were well… This issue of Livraison on the other hand – taking its cue and title from SKOL’s 2006-07 programming, while avoiding becoming its catalogue raisonné – seeks to give a more tonic resonance to that eminently ambivalent jibe. In other words, instead of futile hand-wringing about our cruel loss of bearings or jumping on the cynical bandwagon, the pages of this issue – in keeping with the spirit of SKOL’s programme – take the position that the crisis is one of joy, and rich in potential.
As if all were well came about more as a rejoinder than a deliberate choice – stemming from a sense of frustration, but one that beckoned to be transformed into sense of freedom, “of agreeing to disagree.” Rhinocéros and Skol decided to develop As if all were well to give form to their desires for collaboration, to experiment with possible alternatives to the sort of cynicism endemic in the artworld. The publication reconsiders, often in a critical light, the projects developed over the course of a year of exhibitions at Skol, but also calls upon contributions from other artists, who perturb and disturb what could have been a mere retrospective. These disturbances pry open spaces of confrontation and broaden prospects. The journal’s project is an attempt, however fragmentary, to question the means and categories of art, its rootedness in – and at times incongruity with – the community, its implicit strategies – and its practice. And, in the same way, that of the world.